On April 21, 2026, ant-zen will release act482, ‘The Shadow of the Torturer’, a collaborative work by Flint Glass and Ah Cama-Sotz inspired by Gene Wolfe’s monumental ‘The Book of the New Sun’. But this is no simple adaptation, nor a decorative literary exercise. What emerges instead is a three-act sonic structure shaped by decay, ritual, memory, moral ambiguity, and the strange afterlife of technology in a world where the future has aged into myth. Bringing together two artists whose vocabularies have long moved through industrial ritualism, dark ambient gravity, cinematic composition, and ceremonial atmosphere, the album feels less like a compromise than the birth of a third language. We spoke with Gwenn Trémorin and Herman Klapholz about Gene Wolfe’s influence, the paradox of archaic futurism, collaboration as transformation, and what it means to build not just an album, but a world.

Flint Glass & Ah Cama-Sotz interview

Q: ‘The Shadow of the Torturer’ is rooted in Gene Wolfe’s universe, which is famously dense, elusive, and morally ambiguous. What drew you both to this particular work, and what did it offer sonically that a more straightforward narrative world would not?

GWENN TRÉMORIN / FLINT GLASS: I first read The Shadow of the Torturer as a teenager, and it hit me in a way very few books have since. At the time I didn’t fully understand everything Gene Wolfe was doing, the unreliable narrator, the deliberate anachronisms, the way ancient and futuristic elements blur into something unclassifiable, but I felt it viscerally. That sense of a world on the edge of extinction, heavy with ceremony and forgotten meaning, stayed with me for decades. When I finally proposed this project to Herman, it wasn’t really a calculated artistic decision. It was more like finally giving voice to something that had been waiting inside me for thirty years.

HERMAN KLAPHOLZ / AH CAMA-SOTZ: Gwenn came up with a great idea, a story that perfectly fits our musical context. The ambience and atmosphere act like a soundtrack, guiding the listener to create their own film in their imagination. What Wolfe’s world offers sonically is precisely its density and ambiguity. There is no clean narrative to illustrate. That forces us to work in textures, in suggestion, in emotional architecture rather than story illustration, and that is exactly where our music lives.

Q: This album feels less like a simple adaptation than like a full atmospheric translation, almost a parallel architecture built in sound. When working with such a layered literary source, were you more interested in illustrating its world, or in reimagining its deeper emotional and philosophical texture?

GWENN TRÉMORIN / FLINT GLASS: Illustration was never the goal. We are not composers for cinema, painting scenes for an audience that needs visual cues. What interested me was the feeling of being inside that world, the moral unease of Severian’s position, the strange beauty of ruins, the weight of ritual detached from its original meaning. These are emotional and philosophical states, not images. I wanted the listener to inhabit something, not to be shown something. The album is less a soundtrack and more what I would call a parallel architecture, a structure built from the same emotional material as the book, but that stands on its own terms. Someone who has never read Gene Wolfe should be able to enter it fully and find their own truth in it.

HERMAN KLAPHOLZ / AH CAMA-SOTZ: For decades, as both an artist and an ambient music enthusiast, I’ve always aimed to tell a personal musical story. I don’t rely on templates like many film composers do. An idea can emerge from something as simple as a sound, a musical structure, or a spoken sample. When shaping the foundations of a piece, the structure needs to generate a positive musical energy, one where the mood tells me, “Yes, this is exactly what I want it to be.” In short, our collaboration led to something truly great.

Q: Both of you come from distinct but equally uncompromising artistic backgrounds, with very different shades of ritual, darkness, rhythm, and cinematic tension. What made this collaboration feel necessary, or at least irresistible, at this point in time?

GWENN TRÉMORIN / FLINT GLASS: I had been carrying the idea of this project for years, but I think I knew instinctively that it required a collaborator. Not because I couldn’t do it alone, but because the world of The Book of the New Sun is too vast and too contradictory for a single voice. Wolfe’s Urth needs tension, between the cold and the warm, the mechanical and the organic, the martial and the ceremonial. Herman and I have very different aesthetics, and those differences were not an obstacle. They were the point.

HERMAN KLAPHOLZ / AH CAMA-SOTZ: There was also something about the timing. I think both of us had reached a place in our respective careers where we wanted to push beyond what we could each do individually. This project was a way to go somewhere neither of us could reach alone.

Q: Your inspirations clearly extend far beyond one narrow industrial vocabulary. There are traces here of cinematic composition, ritual music, dark ambient, electronic body architecture, and something almost liturgical in the pacing. How do your individual inspirations differ, and where did they unexpectedly converge on this record?

GWENN TRÉMORIN / FLINT GLASS: My references have always been rooted in cinematic composition, Morricone, Herrmann, Zimmer, Vangelis, the weight of silence in film scoring, as well as electronic body music and the harder, more architectural end of industrial. I tend to think in terms of space and tension, of how sound occupies a room and what it does to the body. Herman’s world is more ritualistic, more ancient in its textures, with that very particular ceremonial darkness that Ah Cama-Sotz has always carried. Where we converged unexpectedly was in the pacing, both of us instinctively understood that this material demanded slowness, gravity, breath.

HERMAN KLAPHOLZ / AH CAMA-SOTZ: There are no shortcuts in Wolfe’s universe, and we agreed from the start that there would be none in ours either. I couldn’t put it better than Gwenn does, the timing was right for us to join forces and bring this project to life.

Q: The world of The Book of the New Sun is built on paradox: a future so distant it feels ancient, advanced technology mistaken for relic, cruelty existing beside beauty. Did that tension between the archaic and the futuristic resonate with your own musical languages from the beginning?

GWENN TRÉMORIN / FLINT GLASS: Completely and immediately. That paradox is almost a definition of what both Flint Glass and Ah Cama-Sotz do: we work with electronic tools in ways that carry the memory of something much older. There is always, in our music, a sense that the machine is haunted. The Book of the New Sun gave us the most perfect literary metaphor for that, a civilization where advanced technology has become indistinguishable from ritual, where no one remembers what things were originally built for. That is the relationship many of us have with electronic music itself.

HERMAN KLAPHOLZ / AH CAMA-SOTZ: Indeed, the collaboration between Flint Glass and Ah Cama-Sotz opens up new ways of interacting, a meeting of two musicians that might seem like a clash, but one that ultimately leads to a positive evolution. I’ve known Flint Glass for many years, and I’ve always been intrigued by his ritualistic approach. We’ve shared a long history, and with Wakan Tanka album, the moment finally felt right.

Q: The album is described as unfolding in three acts, which immediately suggests dramaturgy rather than just sequencing. Did you approach this release almost as a theatrical work, with its own internal staging, progression, and psychological lighting, rather than as a conventional album?

GWENN TRÉMORIN / FLINT GLASS: Yes, from the very first conversations. The three-act structure was not imposed retrospectively to make the track list look organized, it came from the nature of Severian’s journey itself. Act I is institutional, martial, oppressive, the Guild, the ceremony, the weight of a system. Act II opens out into desolation and solitude, the exile across a dying landscape. Act III moves into mystery and revelation, the Cyber-Khanate, the meeting with destiny. These are not just moods; they are psychological stages. We thought about each track as a scene, and about the transitions between acts as genuine dramaturgical events.

HERMAN KLAPHOLZ / AH CAMA-SOTZ: It’s an intriguing concept, shaping tracks into acts, like chapters in a book. For me, it was the first time working within such a structure, and I found the idea fascinating. It felt like writing a book, but expressed through music.

Q: Both Flint Glass and Ah Cama-Sotz have always carried a strong sense of presence, not only musically but almost ceremonially. How important is this idea of presence to you, and does it change when you create music intended primarily for listening versus music that you imagine in a live setting?

GWENN TRÉMORIN / FLINT GLASS: Presence is everything. A record without presence is just content, and I have no interest in making content. For me, presence means that the music demands something from the listener, attention, stillness, a willingness to enter a space that does not accommodate distraction. Whether I am working on a studio album or preparing a live set, I am always asking the same question: does this command the room? The difference with a live context is that presence becomes physical and shared, it is a contract between performer and audience. On record, the listener has to be willing to meet the music halfway. With this album in particular, I wanted to create something immersive enough that halfway would feel insufficient. I wanted the listener to go all the way in.

HERMAN KLAPHOLZ / AH CAMA-SOTZ: My first live performances in the nineties were very different from what I do today. It took time to translate my music into a live format. I don’t create music with the question, “How will this sound live?” in mind, some tracks naturally work in that setting, while others don’t. Certain pieces can elevate the listener to another level, but it ultimately depends on the live context.

Q: Your work has often been powerful on stage precisely because it does not reduce darkness to posture; there is gravity, immersion, and a real command of atmosphere. When you think about performing this material live, do you imagine it as a concert, a ritual, a narrative journey, or something closer to a piece of sonic theatre?

GWENN TRÉMORIN / FLINT GLASS: Sonic theatre is the closest term, though even that doesn’t fully capture it. What I imagine is something where the three-act structure becomes physically present, where the audience feels the shift between acts not just aurally but atmospherically, almost architecturally. I am thinking about lighting design, about staging, about what it means to enter the world of Urth in a live space. It should feel like a ceremony, but not a static one. There should be movement, transformation, a sense that something has happened by the end that could not have been undone. Whether or not we can realize that fully depends on the context we are offered. But the vision is there.

HERMAN KLAPHOLZ / AH CAMA-SOTZ: You can check out our very first concert together at Wroclaw Industrial Fest in November, a special moment for us, marking the beginning of this project in a live setting. It’s an important experience where the music truly came to life on stage and connected with the audience in a unique way.

Q: A collaboration like this can easily become a matter of compromise, but the most compelling ones create a third identity that belongs fully to neither side. Did this album feel like a meeting point between Flint Glass and Ah Cama-Sotz, or did it become something stranger and more autonomous than either of your solo languages?

GWENN TRÉMORIN / FLINT GLASS: Honestly, yes, and that was both the most surprising and the most satisfying thing about the process. There are moments on this record that I could not have made alone, and I am certain the same is true for Herman. The album has its own identity, its own logic, its own emotional center of gravity. It is recognizably rooted in both of our worlds, but it does not belong to either of us exclusively. I think that is the test of a real collaboration, not whether the seams are invisible, but whether something genuinely new has emerged that neither party could have built alone. The Shadow of the Torturer passed that test.

HERMAN KLAPHOLZ / AH CAMA-SOTZ: I would say our first collaboration was a truly pleasant surprise. I’ve worked on many collaborations before, but this one felt particularly intense and deeply engaging. We took the time to carefully shape both the sound and the structure, allowing everything to evolve naturally. It became a process of exploring musical emotions and inner feelings, rather than rushing toward a result. Naturally, it took us more than a year to fully develop what became our shared “new” sound.

Q: At its core, ‘The Shadow of the Torturer’ seems fascinated by transformation: of power into ritual, of memory into ruin, of technology into myth. When listeners enter this album, what kind of transformation do you hope they undergo by the time they reach the epilogue?

GWENN TRÉMORIN / FLINT GLASS: When I read the book as a teenager, I came out of it feeling that something had shifted in how I understood time, memory, and mortality. Not in an abstract intellectual way, in a felt, almost physical way. I would like this album to do something analogous. Not to deliver a message or resolve into comfort, but to leave the listener in a different place than where they entered. A little older, perhaps. A little more aware of the weight of things. Severian carries the memory of everything he has witnessed, without the mercy of forgetting. I want the listener, by the epilogue, to feel something of that, the beauty and the burden of a world that refuses to disappear quietly.

HERMAN KLAPHOLZ / AH CAMA-SOTZ: Well, in the end, it’s all about a personal approach. I believe this album truly reveals itself over time, the more you listen to it, the more layers you begin to uncover. The blend of sounds and emotions runs quite deep, inviting a more immersive and reflective experience with each play. It’s something I’ve often felt with much of my earlier Ah Cama-Sotz work as well. When I revisit those pieces after some time, I sometimes find myself wondering how I actually arrived at the final result, as the creative process becomes almost impossible to retrace. That sense of mystery is part of what makes the journey so special, it’s not always about remembering the path, but about feeling the outcome.

Karo Kratochwil

Based in Wrocław, I work as a music journalist and photographer covering electro, industrial, EBM, gothic, and darkwave. My work includes features and live coverage, as well as concert, portrait, promo, and theater photography. What interests me most is the connection between artistic intention, what the work communicates, and what unfolds live on stage, all in pursuit of the bigger picture behind the music.

Out on June 18, 2025 via Ant-Zen, “Nyarlathotep and Other Tales of Cosmic Dread by H. P. Lovecraft” is a new collaborative work from David Thrussell (Snog, Black Lung) and French electronic artist Flint Glass.

The release is available as a 12″ black vinyl LP in a hand-assembled vintage-style sleeve with copper metallic print, accompanied by digital download. A limited edition of 101 physical copies includes four art cards by Stefan Alt and two postcards by Richard Grant (i+t=r).

The five-track release combines spoken word adaptations of H. P. Lovecraft’s texts with ritual electronics, experimental synths, and EVP (electronic voice phenomena) processes.

David Thrussell provides narration using Lovecraft’s original texts, while Flint Glass – real name Gwenn Trémorin – constructed the soundscape using battered analogue synthesizers and self-built sound generators. Layout and packaging were designed by Ant-Zen founder Stefan Alt.

The recordings reportedly originated during an isolated, days-long ritual in a derelict French manor. According to the label, Thrussell was placed in a chalk circle, connected to electrodes, and deprived of food for seven days as part of a sonic experiment inspired by EVP practice. (Editor’s note: Side-Line has requested the unedited 7-days long lasting video footage of this seance as the short 1 minute video we got ahold of was extremely disturbing.)

About David Thrussell & Flint Glass

David Thrussell is an Australian musician, writer, and composer known for projects including Snog, Black Lung, and Soma. Active since the early 1990s, his work spans industrial, dark ambient, and experimental genres. He has collaborated extensively with European and American underground labels and has released multiple albums on Ant-Zen.

Flint Glass is the alias of Gwenn Trémorin, a French sound artist and producer based in Paris. His music blends ambient, IDM, and tribal-industrial textures with cinematic and occult themes. Flint Glass debuted on Brume Records in the early 2000s and became a recurring figure on labels like Tympanik, Ad Noiseam, and Ant-Zen. Previous collaborations include works with Empusae, Ah Cama-Sotz, and Polygon.

“Nyarlathotep and Other Tales of Cosmic Dread” marks a rare collaborative release, combining their shared fascination with sonic mysticism, vintage technologies, and literary horror.

About H. P. Lovecraft

Howard Phillips Lovecraft (1890–1937) was an American author recognized for really shaping the genre of cosmic horror. Born on August 20, 1890 in Providence, Rhode Island, Lovecraft lived most of his life in his native city, except for brief periods in New York.

Lovecraft began writing early, producing poetry and short fiction during childhood. Chronic health issues and psychological distress disrupted his formal education, and he did not complete high school. Nonetheless, he developed a wide-ranging autodidactic knowledge, particularly in classical literature, astronomy, and history.

Following the loss of his family’s financial stability in the early 20th century, Lovecraft entered the world of amateur journalism and gradually became involved in pulp publishing. His fiction appeared in periodicals such as Weird Tales, with stories like “The Call of Cthulhu” (1928), “At the Mountains of Madness” (1936), and “The Shadow over Innsmouth” (1936) contributing to what became known as the Cthulhu Mythos—a loosely connected body of work exploring themes of alienation, forbidden knowledge, and the indifference of the universe.

In 1924, Lovecraft married Sonia H. Greene, a writer and entrepreneur. The couple briefly lived in New York City before separating. Lovecraft returned permanently to Providence in 1926, where he continued to write, correspond extensively, and assist other authors through editing and ghostwriting.

Although Lovecraft achieved limited commercial success during his lifetime and often faced financial difficulties, his posthumous reputation grew substantially due to efforts by colleagues including August Derleth and Donald Wandrei. Through Arkham House and other publishers, his stories were preserved and introduced to a wider readership.

Lovecraft’s personal views, including documented expressions of racism and xenophobia in letters and published works, remain a subject of critical discussion. These views, shaped by his early upbringing and cultural context, are considered by many scholars as integral to the atmosphere of dread and estrangement in his fiction.

Lovecraft died of cancer on March 15, 1937, at the age of 46. Today, his influence spans literature, film, gaming, and visual arts. His body of work remains central to discussions on modern horror and speculative fiction.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

side-line.com

Greek artist Vasilis Angelopoulos is celebrating the 10th anniversary of his solo project, Conjecture, this year. To mark the occasion, he has once again teamed up with Zoharum to re-release the 2019 album ”V”, this time including tracks from the 2020 EP “∫V” as a bonus. This reissue offers a great opportunity to revisit a project that has already produced several standout releases. Conjecture blends influences from a variety of genres, including Minimal-Electro, Dark-Ambient, Industrial, and Cinematic, resulting in a dynamic fusion of sounds. Here and there, you’ll catch spoken-word samples adding further depth. The album closes with excellent remixes by Antechamber, Evitceles, Flint Glass, and notably Blakk Harbor. While the record isn’t entirely new, it’s a pleasure to rediscover this rich soundscape. (Rate:8½).

Listen to “Kronos”:

About Conjecture

Conjecture is the solo project of Greek musician Vasilis Angelopoulos, who marked ten years of activity under the name in 2024. The project builds slow, low-bass rhythmic structures that cross dark ambient, industrial, and cinematic electronics. Side-Line hosted the exclusive premiere of the album “V” in May 2019, ahead of its vinyl release on the Amek label.

The cassette EP “∫V” followed in 2020, and in 2021 Conjecture released the album “Hydra” as a first collaboration with the Polish label Zoharum. “V (ext. edit)”, issued by Zoharum on May 14, 2024 as a limited digipack CD and digital album, brings the “V” material to CD for the first time, expanded with the “∫V” tracks and remixes, and is the release reviewed here.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Riotmiloo is a sonic project driven by Emilie Verbieze. The French native artist lives in London (UK) and released by the end of 2023 her second full length album “Blackout” by Ant-Zen. This work stands for Minimal-Electronics mixed with Industrial- and Experimental influences. I had an interesting chat with an artist you’ve to discover. (Picture credits by Esmeralda Muñoz-Torrero – Interview courtesy by Inferno Sound Diaries)

Q: You’ve been involved with music for quite a time now so can you draw up the balance sheet from all of your projects, activities and more specifically from Riotmiloo?

Emilie: Hello, I relocated to London in 2002 to immerse myself in the arts and music scene of this vibrant city. I was fortunate to connect with amazing individuals across different musical genres. In my first band, 3 Ant Riot, we had the chance to play around and innovate with sound. With Venom Seeds, our focus was on expressing feminist rage and chaos within a Garage-Punk framework. Riotmiloo has continually evolved, gradually shifting towards a more Electronic and Industrial sound. I’ve been incredibly lucky to have built strong friendships with people who share my interests, and the audience support has been amazingly positive and encouraging.

Q: You first got involved with Punk bands so what do you still recognize from that time in Riotmiloo -and more specifically in the lyrical content?

Emilie: One of the things that I loved (and still love from the Punk scene) is the ‘Do It Yourself’-spirit. Team up with your friends and make it happen. We don’t need the mainstream to create our own scene and to operate efficiently in terms of releases and playing gigs.

For many years, feelings of anger, dissatisfaction, and rebellion have inspired my songwriting. Speaking frankly, there are many aspects of the world that deeply frustrate me. This state of shock enables me to sit down and write lyrics on my notepad. These lyrics are often drawn from the struggles and difficult true stories of people’s lives.

Q: Your debut-album “La Pierre Soudée” was released in 2015 and featured an impressive list of guests. How do you look back at this experience and how happened the switch towards your new work without guests?

Emilie: I hold dear memories of “La Pierre Soudée.” Before its release, I often collaborated as a guest vocalist with various artists. However, I once had the idea to turn the tables and invite others to contribute to my first album. The level of enthusiasm and support from the artists who agreed to collaborate with me was unexpected and heart-warming. They were all wonderful.

When it came time to work on my second album, “Blackout,” I aimed for a more intimate and suffocating sound. At that time, the music room was packed with analogue synthesizers. I believed that two people were more than enough, minimizing the need for extensive musical exchanges. Consequently, the project was brought to life by just two people, EVA|3 and myself, using our two brains and four hands.

Q: When did you start the writing of “Blackout” and what have been the main influences, triggers, and different stages you’d to go through to achieve this work?

Emilie: The first song was “Blackout” itself. I originally wrote it to start a whole new project with another artist. Then his sound began to change. Mine too. Someone else tried to have a go at it and it never quite worked out. Then Eva|3 tried to flesh something out of it with analogue sounds. It sounded so delicate yet strong and beautiful at the same time. We knew we had achieved something special and it gave me the idea to explore more analogue sounds and machines to fit the new concept.

My influences span a broad spectrum. I’ve always been captivated by the intense sound of Haus Arafna and the coldness of their side project, November Növelet. They skillfully evoke moods of atmosphere and despair. Portishead has also inspired me, with their exceptionally high-quality production and Beth Gibbons’ delicately stunning voice. More recently, Gazelle Twin has become a significant inspiration. I’m particularly drawn to the powerful, menacing aspect of her character.

Regarding what inspires me, suffering comes to mind -it’s a universal experience that we’ve all encountered at some point. With “Blackout,” my goal was to delve into the internal battles we face, while also breaking down the artificially constructed barriers that separate what’s considered normal from madness. The struggles we each endure -mine, yours, and theirs -are all legitimate. Ultimately, I aimed to challenge and dismantle the stigma surrounding mental health, in hopes of starting meaningful discussions on the topic.

Q: “Blackout” features multiple analogue sound treatment creating an explicit retro-touch and yet it still sounds refreshing and magic. That’s quite contradictory don’t you think? What makes your fascination for analogue gear and do you have favorites?

Emilie: I feel that “Blackout” is also magical because it is more than the sum of its parts. I wanted the sound to feel bleak and oppressive, the beats to be suffocating.  I wanted the voice and the lyrics to guide the listener into the dark corners of the human psyche. I feel it is a bit like alchemy, all the parts fit in together and make the whole listening experience unique.

Even though we never planned for a retro vibe, it’s a natural trait of analogue synthesizers. The goal was to allow these synthesizers to express feelings freely. This might have led to what some perceive as a ‘retro sound’. Nevertheless, we also appreciate the crispness and detailed impact found in modern production and mixing. The essence of this album also lies in its contrasts; we aimed to create a sound that feels both intimate and constricting yet simultaneously expansive and liberating.

In the recent decade, I’ve developed a fondness for the sounds produced by analogue equipment like the Korg MS20, the Moog D-FAM, the vintage Soviet LELL UDS drum synths, the Moog Werkstatt. More recently, I have been playing with the Soma Lyra 8 and the Pipe. The sounds they create are incredibly rich, warm, and somehow both menacing and comforting at the same time -I absolutely love them. Additionally, I have a special liking for the Gristleizer; it’s an amazing device that always meets my expectations.

Q: l’ve been always wondered why there’re less female artists -except female singers, actively involved with writing and production of Electronic/Industrial music. I think it’s an aspect you’ve been always concerned about but do you think there’s an explanation to the lack of female composers and how do you expect things evolving?

Emilie: In both the physical world and online, there are people who tend to be overly critical. This is truly unfortunate, as it discourages many artists from sharing their work. Some groups face even more criticism than others. In my opinion, it’s best to ignore such negativity and pursue what you’re passionate about. We might be too much or too little for some people’s liking, but does it really matter? Find your community. You don’t have to conform to any standard. Focus on being an artist, which is challenging enough.

In terms of evolution, I believe there’s still room for growth. I’m eager to hear from a wider range of artists. I hope to see more diverse line-ups at concerts and festivals. By ‘diverse,’ I mean truly inclusive of Lesbian, Gay, Bisexual, Transgender, Queer individuals, as well as people from various racial and cultural backgrounds. We can gain so much by learning from one another!

Q: You’re a French living in London, right? How do you perceive the music ‘culture’ between both countries and their fans -England and France being probably two of the most influential European countries when it comes to music?

Emilie: Yes, I was born in France and I have been living in London for more than twenty years now. I moved from France because I believed England offered more opportunities for artistic expression.

I feel deeply connected to French language and poetry. I also have a strong affinity for music from the French label Audiotrauma. I still enjoy listening to artists like Twinkle, Sonic Area, and Chrysalide, among others. Flint Glass and Cent Ans De Solitude are also on my recommendation list. Their music creates a rich, soul-stirring soundscape.

Living in London has enabled me to experiment and forge connections with people both from England and other countries. I’m significantly influenced by the pioneering sound of Throbbing Gristle and Bristol’s Trip-Hop scene, but I also find inspiration in German Electronics and Swedish Death-Industrial music.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Genre/Influences: Cinematic, Experimental, Industrial, Tribal, Techno.

Format: Digital, Vinyl.

Background/Info: “Fire Pulsations” released by the collaborative duo Gwenn Trémorin (Flint Glass, Tzolk’in) – Anatoly ‘Tokee’ Grinberg comes as an addition to the remarkable debut album “Singularity Spectrum”. The EP features two new tracks plus three remixes.

Content: Both new cuts remain diversified but sound rather down-tempo compared to the album. Slow, broken, beats have been mixed with deep, vibrating, sound treatments. Both new songs have been remixed respectively by Zeller and Eks.Center while the song “Purple Vibrations” (originally released on the album) has been remixed by Stendeck.

+ + + : I definitely prefer the album to the EP although both new cuts are worthy of examination. It however sounds like the remixes -and especially the one by Zeller, have been more inspiring. Zeller injected an intelligent Techno touch to “Tempus Pulsations”. Another noticeable cut is the refined remix of Stendeck.

– – – : This work sounds a bit different to the album and is as mentioned above simply an addition.

Conclusion: There clearly is a sort of chemistry between both artists but I especially recommend listening to the album first.

Best songs: “Tempus Pulsations – Zeller Remix”, “Purple Vibrations – Stendeck Remix”, “Tempus Pulsations. 

Rate: 7½. 

Artists: www.facebook.com/gwenn.tremorin / www.facebook.com/TokeePaindonor

Label: www.ant-zen.com / www.facebook.com/antzen.official

About Gwenn Trémorin & Anatoly Grinberg

Gwenn Trémorin, also known for Flint Glass and Tzolk’in, and Anatoly “Tokee” Grinberg formed this collaborative project and released their debut album, “Singularity Spectrum”, on Ant-Zen. “Fire Pulsations” followed as an EP on the same label, catalog number Ant-Zen dig083, pairing two new tracks with remixes by Stendeck, Zeller and Eks.Center.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Genre/Influences: Cinematic, Experimental, Industrial, Tribal.

Format: Digital, Vinyl.

Background/Info: This work resulted from the common efforts between two renowned and established artists from the Industrial/Experimental scene. French Gwenn Trémorin (Flint Glass), Tzolk’in) and Russian Anatoly ‘Tokee’ Grinberg joined hands together creating eight tracks.

Content: The album is mainly characterized by the use of an impressive sound canvas which is resulting in a diversified Electronic piece. Influences are crossing each other and finally coming together in an elaborated production. From pure Cinematic and Experimental debut cuts with Neo-Classic elements on top towards mysterious and more atmospheric pieces with Oriental sound colors this work is achieved with delicate sound arrangements.

+ + + : You don’t really get the feeling this is a side-project or collaboration between two artists. This album sounds like a mature production between complementary artists who brought their influences together. I have a preference for the Eastern and somewhat tribal driven pieces -which are reminding me of Tzolk’in. The rhythmic has a transcendental effect which is empowered by Industrial sound treatments. But I also enjoy the delicacy running through the last cuts where you hear sounds of instruments like cello and piano.

– – – : Both debut tracks aren’t that bad but more hesitant and only a warm-up for the main part of the work which sounds convincing.

Conclusion: I can only encourage both artists to renew this experience as this album is a true artistic success.

Best songs: “Glitch Tear”, “Persian Breaks”, “Sufi Trance”, “Self Isolation”.

Rate: 8½. 

Artists: www.facebook.com/gwenn.tremorin / www.facebook.com/TokeePaindonor

Label: www.ant-zen.com / www.facebook.com/antzen.official

About Gwenn Trémorin & Anatoly Grinberg

Gwenn Trémorin, also known for Flint Glass and Tzolk’in, and Anatoly “Tokee” Grinberg formed this collaborative project. Their debut album, “Singularity Spectrum”, appeared on Ant-Zen in 2023.

The duo followed it with the “Fire Pulsations” EP, also on Ant-Zen, pairing two new tracks with remixes by Stendeck, Zeller and Eks.Center.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

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Genre/Influences: Electro-Ambient, Experimental, Industrial.

Format: Digital, CD.

Background/Info: Russian born Jana Komaritsa comes to celebrate the thirteenth anniversary of her Darkrad project with this new work. The album features new songs, live tracks and remixes.

Content: The work takes off with 6 new tracks featuring one song composed together with Flint Glass. The tracks are into Electro-Ambient while achieved with Industrial sound treatments and the artist’s spooky vocals on top. We next get 4 live cuts taken at different places and featuring a few familiar cuts. The last part brings 5 remixes by Chaotalion, Aphexia, Mandelbrot, Anatoly Grinberg and Alamren. 

+ + + : The new songs bring this uncompromised sound of Darkrad; a dark fusion between different styles and supported with ghost-like -and sometimes whispering, vocals. The song featuring Flint Glass sounds more Industrial-like than the others and is a cool piece of music. I also like the live version of “Black Mask” for its overwhelming sound atmosphere. Among the remixes I recommend listening to the remix of “Solace” by Anatoly Grinberg injecting broken beats and a modern touch.

– – – : I experienced some of the tracks as being a bit short. The live cuts reveal a more improvised approach which can’t always convince me.

Conclusion: Darkrad isn’t releasing new material at regular basis but always has something to offer.

Best songs: “In Haze feat. Flint Glass”, “Sentenced To Love”, “Black Mask – Live”, “Solace – Anatoly Grinberg Remix”.

Rate: 7.

Artist: www.komaritsa.com / www.facebook.com/darkradproject

Label: www.audiophob.de / www.facebook.com/audiophob

Listen to “13 Years Of Melancholia”:

About Darkrad

Darkrad is the dark ambient project of Jana Komaritsa, a Russian-born multidisciplinary artist based between Russia and the United States. The project’s debut album, “Abnormal Love”, was released on Cold Meat Industry in 2012, followed by “Little Black World” in 2014 on Komaritsa’s own label Mrakmur, in a limited tape edition. “13 Years Of Melancholia”, released on Audiophob, marks the project’s thirteenth anniversary with new material, live recordings, and remixes.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Genre/Influences: Ambient-Electro, IDM, Cinematic.

Format: Digital.

Background/Info: After numerous collaborative productions and split-albums French artist Gwenn Trémorin strikes back with a new studio album of his sonic alter-ego Flint Glass. The album is also available on vinyl from Sealt (Russia). The work is the second chapter of a trilogy based upon H.P. Lovecraft’s “Cthulhu myth”.

Content: Flint Glass is not an artist who’s easy to catch and that’s mainly because of complex sound and writing. Numerous influences have been mixed together creating an imaginary soundtrack devoted to the genius of Lovecraft. From Klinik-al sequences to pure Ambient Electro-darkness to IDM to Experimental parts to Tribal sequences, the work covers an impressive sound canvas.

+ + + : Gwenn Trémorin is an artist who no longer has to prove his talent, but it’s just a pity he isn’t more recognized for his genius. You can’t define his music as one particular genre, but he simply collects genres and influences to create his own sound devoted to H.P. Lovecraft. I like the sound intelligence and poignant atmospheres emerging from this creation, which leads to an absolute climax on “The Troubler Of The Sands”.

– – – : This is the kind of record you have to listen to a few times before you totally get into it. It’s not the most accessible production, but I guess it’s not made to entertain a wider audience.

Conclusion: A sophisticated, diversified and fascinating production once more confirming the visionary style of Flint Glass.

Best songs: “The Troubler Of The Sands”, “The Nameless Mist”, “Xexanoth”, “Nyctelios”.

Rate: 8.

Artist: www.facebook.com/FlintGlass

Label: www.ant-zen.com / www.facebook.com/antzen.official

Listen to “Azathoth”:

About Flint Glass

Flint Glass is the alias of Gwenn Trémorin, a French sound artist and producer based in Paris. The project mixes ambient, IDM and tribal-industrial textures with cinematic and occult themes. Flint Glass debuted on Brume Records in the early 2000s and became a recurring name on Tympanik Audio, Ad Noiseam and Ant-Zen.

The Lovecraft cycle started with “Nyarlathotep” in 2006, reissued in 2009 as “Nyarlathotep + From Beyond EP”. “Azathoth” was released on 21 June 2022, twenty years after the project began. Trémorin wrote, performed and mixed the album, Anatoly Grinberg mastered it, Pole Ka supplied the drawings and Stefan Alt the layout, while Evgeniy Kuleshov designed the vinyl collector packaging issued by Sealt.

Trémorin has worked with Empusae, Ah Cama-Sotz and Polygon. Side-Line covered the vinyl release for Flint Glass & Collapsar album ‘Deus Irae’ in 2015, and in 2025 he joined David Thrussell for the Ant-Zen release “Nyarlathotep and Other Tales of Cosmic Dread”.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Genre/Influences: Industrial, Tribal, IDM, Experimental.

Format: Digital, Vinyl.

Background/Info: Set up in 1999 by the Parisian (France) based Gwenn Trémorin, Flint Glass didn’t release that much new material during the past few years. “Psychopomps” has been introduced as the legacy based on the project Tzolk’in, which was run by Empusae and Flint Glass. “Psychopomps” is inspired by the underworld of Aztec mythology named Mitclan and literally means the ‘guide of souls’, whose responsibility is to escort newly deceased souls from earth to the afterlife.’

Content: There for sure is a Ritual influence running through this work and, which might remind you of the Tzolk’in sound universe. The 4 tracks are driven by slow rhythms and supported by intriguing, mysterious and dark sound atmospheres. The tracks have been progressively built up, which next to be Ritual-driven, are also infused by Industrial sound treatments and more complex, but irresistible IDM.

+ + + : Flint Glass is a project I’ve always liked for its unique approach; a kind of crossover between different genres. And when Fling Glass got contaminated by Tzolk’in you only, but get a fascinating work. I especially like the Ritual aspect of the work, which mainly comes through at “Teyolia” and “Xolotl”. This is a complex and sophisticated work featuring sound intelligence and a great production.

– – – : I think a few passages with (ritual) voices and/or chants could have added something extra.I also regret that there are only four tracks featured.

Conclusion: Flint Glass is back with an alluring, styled and high-tech production.

Best songs: “Teyolia”, “Xolotl”, “Tonalli”.

Rate: 8.

Artist: www.facebook.com/FlintGlass

Label: www.ant-zen.com / www.facebook.com/antzen.official

About Flint Glass

Flint Glass is the solo project of French musician Gwenn Trémorin, formed in Paris in 1999 and working across dark electronica, rhythmic noise and dark ambient. Trémorin also ran the experimental label Brume Records. With Nicolas Van Meirhaeghe of Empusae he formed Tzolk’in, a project built around Mayan mythology and the Tzolk’in calendar.

“Psychopomps” was released by Ant-Zen on 9 April 2021 in digital and vinyl formats, in collaboration with the Russian label Sealt. All four tracks were written, performed and mixed by Gwenn Trémorin, mastered by Anatoly Grinberg and given artwork by Stefan Alt. The running order is “Teyolia”, “Tonalli”, “Xolotl” and “Mitclan”. An official video for “Mitclan” accompanied the release.

Earlier Flint Glass albums include “Hierakonpolis” in 2002, “Nyarlathotep” in 2006, “Circumsounds” in 2008 and the collaboration reviewed here as Flint Glass & Collapsar – Deus Irae (CD Album – Ant-zen) in 2015.

Ant-Zen followed “Psychopomps” with Flint Glass – Azathoth (Album – Ant-Zen) in 2022, and Trémorin worked with Anatoly Grinberg on Gwenn Trémorin & Anatoly Grinberg – Singularity Spectrum (Album – Ant-Zen) in 2023. He returned to Side-Line in the 2026 Flint Glass & Ah Cama-Sotz interview.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Genre/Influences: IDM, Minimal-Electro, Industrial, Ambient-Electro, Experimental.

Format: Digital.

Background/Info: Twenty seven tracks to celebrate the 20^th anniversary of the French label M-Tronic. As the title indicates, it also is the fifth volume in the Compilation series “Table Of Elements” which started in 2004 with ten tracks.

Artists: C.H.District, Cathode Ray Tube, Alpturer, Amantra, An Hedonia, Plaster, Mono Peninsula, Valance Drakes, Nearfield, Syl Kougaï, Tineidae + Comforting Darkness, EKS Center, DEF, Obscure Formats, Snowbeasts, Martin Dupont & Philippe Petit, Xorcist, Flint Glass, Ermanspeed, Shizuka, Leitmotiv Rainbow, Lith, Cruise [ctrl], NSP.

Content: The impressive tracklist perfectly stands for the particular and minimal-driven sound of the M-Tronic roster. It’s an avant-garde vision of the Electronic underground scene featuring an intelligent, sophisticated and complex approach of Electronic music. Most bands are familiar names from the label roster although you’ll discover other bands as well.

+ + + : M-Tronic is a label I’ve always respected for its visionary approach. Electronic music is much more than artists repeating each other and music genres without innovation. M-Tronic brings visionary music and always have dared to sign unknown bands with an intelligent sound. But intelligent music often stands for a rather restricted number of fans. I however remain an adherent of this label and this compilation simply confirms the good taste of the French label. And when you realize the label also released albums of bands like Millimetric, Mlada Fronta, Ex_Tension, Displacer, Geomatic ao, which aren’t featured on this compilation, you only, but have to agree this label stands for high tech productions.

– – – : A few more explicit Experimental passages aren’t my favorites one, but you don’t hear me to complaining.

Conclusion: Electronic music with an uppercase E!

Best bands: Tineidae + Comforting Darkness, Ermanspeed, S.H.I.Z.U.K.A., Lith, C.H. District, Leitmotiv Rainbow.

Rate: 8½.

Label: www.m-tronic.com / www.facebook.com/mtroniclabel

About M-Tronic

M-Tronic is a Paris-based electronic label active since July 2001. Its catalogue numbers follow the periodic table of elements, which is also where the “Table Of Elements” compilation series takes its name.

“Table Of Elements Volume 5.0” was released on 16 March 2021 to mark the label’s twentieth anniversary. The Bandcamp listing describes it as a 25-track compilation running more than 145 minutes, while the review above counts twenty seven tracks. Cover photography is credited to N.S.P. and the design to Element.

The label roster represented here includes Lith and Tineidae. The first of those gave Side-Line an interview in June 2022, published as the Click Interview with Lith.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Genre/Influences: Experimental, industrial, electro-ambient, cinematographic.

Background/Info: Russian artist Jana Komaritsa is based in the USA and has been involved with many projects dealing with music. She’s also member of Tanzfront Project, is active as a DJ, runs the label Mrakmur and is promoting the Russian underground scene. After a debut album (cf. Abnormal Love”) released in 2012 on the now defunct Cold Meat Industry and the album “Little Black World” (2014) released on her own label Mrakmur as cassette format and on Audiophob as CD, she now joined hands with Audiophob to unleash her newest opus.

Content: “Heart Murmur” is a work revealing an impressive arsenal of influences. It makes me think to a carousel of sounds and noises, which have been now assembled into an experimental creation and next becoming pretty ambient-like. There’s a constant anguishing sphere recovering the work, which finds its apotheosis on the very last songs of the album, which are bonus cuts.

Indeed, next to the 9 tracks you get 6 bonus tracks featuring among others previously released cassette pieces and remixes by Flint Glass and Mortaja.

+ + + : This work is diversified and eclectic. It feels like there are different parts running through the work. We all have to make our mind, but I personally prefer the overwhelming, haunting cuts. It’s a cold and bewitched side of the album, which don’t get you feel comfortable. It might create a paranoiac reaction, getting the impression an invisible presence is watching you. The sensation is only accentuated by some rare, manipulated ghost-voices. Resonating sounds and slow rhythms are accentuating the global feeling of fright. The bonus part of this work is the greatest one.

– – – : I can’t say to have been totally convinced by the ‘new’ songs of the album. Some of them are maybe too cinematographic-like, creating a contrast with the heavier bonus cuts.

Conclusion: This is an album with multiple influences and 2 distinguished ‘faces’. There’s a more dark-dreamy side, which I think is the less interesting one and a great and overwhelming one on the industrial side.

Best songs: “Sleepwalking – Album Version”, “Stone Upon Stone”, “Dead Bodies – Flint Glass Remix”, “Krovomet – Mortaja Remix”, “Dead Bodies”.

Rate: (7).

Artist: www.janadark.net / www.facebook.com/darkradproject

Label: www.audiophob.de / www.facebook.com/audiophob

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Nicolas Van Meirhaeghe aka ‘Sal-Ocin’ and instigator of the dark-ambient/ritual/cinematographic project Empusae is a Belgian artist I discovered since his early years. He also played live percussions and got involved in very diversified bands (Implant, Ah Cama-Sotz, This Morn’Omina, In Slaughter Natives, Sophia, Triarii, Tzol’kin, Ordo Rosarius Equilibrio ao.). With his newest opus (cf. “Lueur”) released on the Belgian label Consouling Sounds, Empusae took me by surprise achieving a poignant and transcendental work.

(by Inferno Sound Diaries)

Q: Nicolas, you’re an artist I’m following since your very first official releases (on Divine Comedy Records) and I’m really impressed about the evolution in the global production process between the early work and what you’re composing today. How much of early Empusae do you recognize in your latest work?

Sal-Ocin: Thank you for your kind words. Since the beginning of Empusae, it was always about creating soundtracks for the imaginary. Certain elements in sounds and compositions you might recognise through my work such as being atmospheric, dark, melancholic melodies, ritual rhythms and a mixture of unearthly sounds and sounds and scenes from our lives (I used to sample a lot from movies, which I changed now to field recordings and recordings in my studio). In all my albums you will find out there is something beautiful within the darkness. Which is exactly the theme of my last album, literary.

Q: I experienced your newest work “Lueur” as an album with a diversified and dark sonic canvas. What kind of work did you’d in mind and how did you came to work together with Chve?

Sal-Ocin: I started to write “Lueur” as a therapeutic exorcism against a recent demon I encountered 3 years ago (genetic eye disease). I had no idea of any particular style or sonic result, it was more about transcribing emotions, fear, pain and anger into music. The result is indeed very dark but you might recognise there also is some light within. When I was at a certain point of composition, I felt something was missing. Since I didn’t know what, I experimented several ways to fill it in, but without results. After a few days it hit me like thunder: It was Colin’s voice who was needed at that passage of the song.

After he said yes to try some things out, I (re-)composed the two songs with his voice in mind. He perfectly did (even more) what I had in mind and I think the end result speaks for itself; an enhancement of the emotions I needed to express with the album. He instantly grasped the concept and it all happened very fast and naturally.

Q: I especially like the balance between music and vocals, but still the progression running through both songs, which are reaching a kind of transcendental final. How did you get such an apotheosis and do you’ve references in the genre?

Sal-Ocin: To be honest I have no idea what to compare it with. I really just did what come out during the writing of it, without thinking how I would do it and especially without any particular result. It’s the first time I used my own voice and someone else’s (except Tom De Doncker’s Vox Demonii). But it felt very natural and I need also to mention the work of  Tim De Gieter (Much Luv Studios) who did an astonishing craftsmanship in mixing the whole album into a perfect result!

Q: You’ve worked with numerous guest artists while you’ve been –and still are involved in numerous other (and sometimes famous) bands. What do you like in the work and exchange with other artists and what’s the impact on your own work and evolution as musician?

Sal-Ocin: Working as percussionist (live) with Triarii definitely helped me finding the way to compose orchestral passages within ‘Sphere From The Woods’, ‘Split’ and ‘Lueur’. Those are elements which were also present in previous albums, but not as well orchestrated and integrated in the dark ambiences and electronics.

This aspect I actually put in “Vision:Libertine” from Ordo Rosarius Equilibrio. I think Tomas (Pettersson) recognised that as well and asked me to integrate that into his songs, together with the tribal rhythms.

What I do as Tzolk’in (with Gwenn from Flint Glass) is something similar as with Empusae in the sense that we create a soundtrack to the pre-Colombian civilisations.

With Onus (with Peter Bjärgö from Arcana and Sophia) it is for me the same principle: creating atmospheric music based on the burden of life.

Q: What means this artistic involvement and creation to you?

Sal-Ocin: Some people have kids, Christel and I have art. It is more than just a passion, it’s our drive of life, our therapy, our essence of life and our catharsis. It’s an obsession, an endless source of pleasure, commitment, self-development, symbiotic interactions.. In other words, hard to describe, but it means the world to me.

Q You’re right back from WGT 2017. How did it happen for you and what’s the importance of playing live plus did you see other interesting bands on stage?

Sal-Ocin: WGT was very intense this year. The Empusae gig was in a full house ‘Volkspalast Kantine’. The sound was amazing, so was the audience, they were very silent (which is not always the case and can be a huge pain in the ass during ambient parts of a concert) and attentive with a huge feedback from then at the end. It’s one of the concerts where myself as well as several people in the audience started crying.

A few hours later we performed in ‘Volkspalast Kuppelhalle’ (full house as well) with Orde Rosarius Equilibrio. One of those concerts where I had a big smile on my face at certain moment and where I had so much fun playing my percussions. Unfortunately, I didn’t visit any other band or venue, I decided to spend some feel good quality time with the band and friends.

Courtesy by Inferno Sound Diaries

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Loyal Side-Line readers will remember that we always have had a soft spot for the now defunct idm, electro label Tympanik Audio which launched in September 2007. The Chicago-based electronic music label closed in March of 2016 and as a result its back catalogue ceased being distributed… until now!

The fine people from Storming The Base have taken over the complete back catalogue stocks and are selling it now at rock bottom prices (US,98 per CD album) via this hidden link.

Attention: For the US-readers, keep in mind that Storming The Base is offering free shipping from US$100 on, so you might want to take advantage of this by filling your basket with plenty of goodies. The same goes for overseas fans as the shipping diminishes a lot per item once you buy in bulk.

Tympanik Audio’s artist roster includes: Totakeke, Displacer, Ad·ver·sary, Stendeck, ESA, Unterm Rad, Pneumatic Detach, Broken Fabiola, Integral, Atiq & EnK, Geomatic, Flint Glass, Haujobb, Erode, Tangent, Normotone, Disharmony, Anklebiter, Comaduster, Tineidae, Known Rebel, C.H.District, MultiColor, Subheim, [Haven], Fractional, c.db.sn, EyeScream, Zentriert ins Antlitz, SE, Black Lung, Worms Of The Earth, r.roo, Access To Arasaka, Ex_tension, Candle Nine, Tapage, Zinovia, Meander, Dirk Geiger, Endif, Zeller, Lucidstatic, Undermathic, Autoclav1.1, Opposite Exhale, Pandora’s Black Book, Famine, and Aphorism.

Recommended!

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

side-line.com

Genre/Influences: IDM, electro-ambient, glitch.

Background/Info: Ingo Lindmeier earned some fame during the 90s as a member of the dark-electro and sophisticated sounding Mortal Constraint. He got involved into different projects and Polygon has been his newest creative exposure. He released the excellent “Sein Lernen”-album by Aliens Production. This album features 15 tracks (3 more than the CD-format).

Content: This album features some interesting names, which all are renowned for their sophisticated and intelligent approach in electronic music as well. Polygon invited names like Flint Glass, Ab Ovo, Huron, Normotone, Headdreamer and a few less familiar names like RecFrag and Klangarchies while this digital edition also features label mates Ish, Headdreamer plus LPF 12. I also have to mention 3 remixes made by Polygon.

There’s an interesting twist of influences running through this work, with all the remixers trying to inject their own touch to the original songs. I was impressed by the bombast and reverie of RecFrag and the complexity of Huron.

Other attention grabbers were accomplished by Flint Glass and LPF 12. I expected a bit more out of the Polygon remixes although I’ve to mention a great and improved version of “Der Träumer”.

The sound universe of the original songs remains pretty faithful, and definitely diverse. The songs remain minimalism, bombast, reverie, but most of all into beautiful sound manipulations.

↑↑↑: I especially like the selection of bands for this remix concept I especially like the selection of bands for this remix concept while it’s also cool to get remixes from Polygon as well.

↓↓↓ : I can’t say that this album is really adding a bonus to the original album, which remains the one to discover first! It would have been cool to get one or two ‘new’ songs on it.

Conclusion: If you enjoyed the original full length “Sein Lernen” you for sure will appreciate this “Remixes”-version.

Best songs: “Kalter Fleck – Huron”, “Tag Ohne Gestern – RecFrag”, “Tag Ohne Gestern- LPF12”.

Rate: (DP:7)DP.

Band: www.sein-lernen.net / www.facebook.com/polygon-music-863946540311247

Label: www.label.aliens.sk / www.facebook.com/pages/Aliens-production-label/200028820052578

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com

Out by mid-November on vinyl is the Flint Glass & Collapsar album “Deus Irae”, you can order it right here.

Glint glass is the well known Paris-based one man project of Gwenn Trémorin, while Collapsar is a dark space ambient solo project from Strasbourg, formed by Thibaud Thaunay. On “Deus Irae” the duo explores the depths of a post apocalyptic world, inspired by Philip K. Dick & Roger Zelazny’s science fiction novel of the same title. This ficticious musical journey is separated in 2 parts and lasts for more than 40 minutes.

The track list is finished with remixes by Spherical Disrupted, Hologram_, Sylvgheist Maëlström, Ah Cama-Sotz and Iszoloscope. Below are 2 impressions.

Read the review of ‘Deus Irae’.

Bernard - Side-Line Staff

Chief editor of Side-Line – which basically means I spend my days wading through a relentless flood of press releases from labels, artists, DJs, and zealous correspondents. My job? Strip out the promo nonsense, verify what’s actually real, and decide which stories make the cut and which get tossed into the digital void. Outside the news filter bubble, I’m all in for quality sushi and helping raise funds for Ukraine’s ongoing fight against the modern-day axis of evil. Besides music I’m also an SEO and AI content flow specialist and have an interest in everything finance from stocks to crypto. There is music in everything!

side-line.com

Content:

Read the news on ‘Deus Irae’.

Inferno Sound Diaries

I have been working for over 30 years with Side-line as the main reviewer. My taste is eclectic, uncoventional and I prefer to look for the pearls, even if the bands are completely unknown, thus staying loyal to the Side-Line philosophy of nurturing new talents.

www.side-line.com